Not to take anything away from this great ensemble cast, but I think it says a lot about the writing of an excellent play, that it can be recast without much angst. Eventually, everyone needs to move on artistically--look at HAMILTON. Good for them. Both plays were life changing for the actors in different ways.
IdinaBellFoster said: "I still can’t believe there isn’t 1 woman on the creative team."
Yup . . . and check out the creative team on TOOTSIE. There was a subversive feminist viewpoint in the movie, due in no small part I think, with in inclusion of Elaine May on the script. Take note . . . she's still around and still brilliant.
The statement you made about the show's potential merits echo precesely the hopes that everyone and their brother - Ken Mandelbaum leading the pack - had for The Goodbye Girl back in 1992; with its killer-diller star wattage and music by Marvin Hamlisch. Couldn't miss. And it too opened at the Marquis."
And NICK AND NORA with Joanna Gleason . . . what could go wrong?
BroadwayConcierge said: "JBroadway, the movie is a beloved gem. It’s one of my all-time favorites, and seems to be many others’, too. I find that when I tell people about a Tootsie musical being made, they respond enthusiastically with, “Oh, I LOVE that movie!” It’s really comedy gold.
I also think it’s going to have a really poignant, powerful message at this time in history. Plus, with David Yazbek penning the score, it seems like ther
standingovation79 said: "the only thing that rings TRUEabout Brantley's review is the BADLY WRITTEN book by John Logan (I can't believe the check cleared after the producers saw what his book read like).
It smells to me like he's trying to reel it in after his misstep with the review for Head Over Heels.
That's BALDLY written, not badly . . . baldly. Here's the definition: " without any extra detail or explanation; plainly; blunt
I think some folks aren't familiar with how talented and versatile she is. Don't be so quick to pigeon-hole her because of her outstanding work on Broadway.
Someone asked, "Can she dance?" Yes. She's played Peggy Sawyer in 42nd Street, and Sally Bowles in Cabaret. Her dancing skills are excellent. You can rent/view Indecent to see small examples of her dance skills.
I think she's a terrific actress and does very well in all she does, but she should have not signed on for 8 shows if she couldn't handle it. That's the nature of the beast and a lot of people do it. She should have signed on for a reduced schedule up front. And I think you can figure out what a common idiom like "stay in your lane" means.
adamgreer said: "I love how Lin, in typical LMM fashion, manages to make the interaction all about him. The guy saying he liked the classics may have been a simple enough statement having nothing to do with Hamilton. He may not even have BEEN aware of the fact that he was speaking to the composer of Hamilton."
Really? You are slamming Mr. Miranda, one of the most gracious and generous artists of today? Whatever the conversation was, your conjecture is mea
And with ALL due respect to the hard-working, talented Dame Diana Rigg: she has never had a role as vocally-demanding as this.
What?? Really? Let's consider 3 of her non-musical roles . . . MEDEA, MOTHER COURAGE, and Martha in WHO'S AFRAID OF VIRGINIA WOOLF. We could forever debate the vocal challenges of classic theatre to Broadway show tunes. She did these roles before everything was so heavily miked, so I'd submit, that is the greater challenge